Volume 30 · Issue 4

Spring 1997

William Blake and His Circle: A Checklist of Publications and Discoveries in
1996

by G. E. Bentley, Jr.With the Assistance of Keiko Aoyama for Japanese
Publications

The annual checklist of scholarship and discoveries concerning William Blake and his circle
records publications for the current year (say, 1996) and those for previous years which are not recorded in
Blake Books (1977) and Blake Books Supplement (1995). The organization of
the checklist is as follows:

Division I: William Blake

Part I:

Editions, Translations, and Facsimiles of Blake’s Writings

Section A:

Original Editions and Reprints

Section B:

Collections and Selections

Part II:

Reproductions of his Art

Part III:

Commercial Book Engravings

Part IV:

Catalogues and Bibliographies

Part V:

Books Blake Owned

Part VI:

Criticism, Biography, and Scholarly Studies

Note: Collections of essays on Blake and issues of periodicals devoted
entirely to him are listed in one place, with cross-references to their authors.

Division II: Blake’s Circle

This division is organized by individual (say, William Hayley or John Flaxman), with works by
and about Blake’s friends and patrons, living individuals with whom he had significant direct and
demonstrable contact. It includes Thomas Butts, Thomas Hartley Cromek, George Cumberland, John Flaxman and his
family, Henry Fuseli, Thomas and William Hayley, John Linnell and his family, Samuel Palmer, James Parker,
George Richmond, Thomas Stothard, and John Varley. It does not include important
contemporaries with whom Blake’s contact was negligible or non-existent such as John Constable and William
Wordsworth and Edmund Burke; such major figures are dealt with more comprehensively elsewhere, and the light
they throw upon Blake is very dim.

Reviews listed here are only for books which are substantially about Blake, not for those with
only, say, a chapter on Blake. These reviews are listed under the book reviewed; the authors of the reviews
may be recovered from the index.

In general, Keiko Aoyama is responsible for works in Japanese, and I am greatly indebted to her
for her meticulous accuracy and her patience in translating the words and conventions of Japan into our very
different context.

I take Blake Books (1977) and Blake Books Supplement
(1995), faute de mieux, to be the standard bibliographical authorities on Blake1↤ 1 Except for the states of the plates for Blake’s commercial book
engravings, where the standard authority is R. N. Essick, William Blake’s Commercial Book
Illustrations (1991). and have noted significant differences from
them.

I should also like to express my gratitude for and joy in a Visiting Research Fellowship at
Hatfield College, where much of the work on this checklist was done in the autumn of 1996, and to my
colleagues there in the English department of Durham University.

Symbols

*Works prefixed by an asterisk include one or more illustrations by Blake or depicting him. If
there are more than 19 illustrations, the number is specified. If the illustrations include all those for a
work by Blake, say Thel or Comus, the work is identified.

§Works preceded by a section mark are reported on second-hand authority.

18 Numbers prefixed to Blake’s manuscripts, original editions, and commercial engravings are
the standard ones which identify them in Blake Books.

Abbreviations

BB

G.E. Bentley, Jr., Blake Books (1977)

BBS

Blake Books Supplement (1995)

Blake

Blake/An Illustrated Quarterly

Introduction

The number of publications recorded on Blake in this checklist for 1996 is very considerable:
over 160 essays, 136 reviews, 13 books on Blake, 14 editions of his poetry, and 10 exhibitions and catalogues
of his work in languages as diverse as Catalan, Chinese, Czeck, English, French, German, Hebrew, Italian,
Japanese, Korean, Polish, Portuguese, Russian, Scotch, Spanish, and Swedish. However, the flood of new
publications is not nearly so great as this implies, for there are only 54 essays, 67 reviews, and nine books
from 1996 recorded here. The even larger number of essays and reviews dating from 1784 to 1995 were first
noticed in a variety of sources, chiefly English and General Literature Index for 1900-94
and the on-line catalogue of the Research Libraries Group.

The 14 editions of Blake’s poetry newly noted here are mostly of small significance; editions
of the Songs translated into Spanish (1987) and Chinese (1988), collections in Chinese
(1973), Latvian (1981), Portuguese (1977), Russian (1993), and Scotch (1988), three broadsides (1930, 1968,
1980), and an “Office Drawn from” the Marriage and elsewhere in Blake “for Use of St.
Mark’s in-the-Bourie” (1920). Selected Poems (1996) and Songs of Innocence
& Experience [sic] (1996) are insufficiently original for the publisher to bother
to record the name of the editor. The only likely exception seems to be the two volumes of
Jerusalem, edited and translated by Marcello Pagnini (1994), which neither its Italian nor its
English publisher seems to be able to supply and on which I can therefore scarcely comment.

In terms of Blake’s original works, the most tantalizing is the discovery of a broken pair of
spectacles in Blake’s cottage in Felpham which could have belonged to the poet.

A good deal of new information about the earliest series of colored facsimiles of Blake’s
works in illuminated printing by William Muir has been discovered in the Crookshank Collection in the West
Sussex Record Office in Chichester. These give details of when copies were sold and which originals were
reproduced. They also include fascinating inscriptions attributed to Blake from Thel (A) and
Marriage of Heaven and Hell (F) and the allegation that Marriage (F) once
belonged to Dante Gabriel Rossetti.

Blake’s designs for Bunyan’s Pilgrim’s Progress have been sold by the
Frick Collection in New York, where they were for half a century, and they are now in a private collection in
England.

Among Blake’s commercial book engravings, there are a good many new locations recorded here,
and a facsimile has been published of George Cumberland’s Attempt to Describe Hafod
(1996), though with no new information as to whether Blake had a hand in the engravings in it. And a great
store of information about Lavater’s Essays on Physiognomy, in the archive of John Murray,
not only demonstrates the conditions in which one of the most distinguished illustrated books of the century
was produced but records what Blake was paid for his small part in the enormous undertaking.

The most impressive and significant of the catalogues recorded here is Robin Hamlyn’s
William Blake: visiones de mundos eternas for the 1996 exhibition in Madrid. Most of the essays
except for Hamlyn’s are curiously irrelevant to Blake and to the pictures and books exhibited, but the works
shown are extensive and of the first class, and the 180 color plates include complete reproductions of
Songs of Innocence (X), Europe (B), and Job. As there has been very little
publication about Blake in Spanish before 1996, this is an astonishing accomplishment.

A large proportion of the essays and reviews published on Blake in 19967↤ 7 N.b. As usual, I cannot, through linguistic ignorance, comment on the 25 essays
published in Japan and the two in Korea. appeared in Blake/An Illustrated Quarterly,
in Journal of the Blake Society at St James, and in volumes of reprinted essays edited by
Noriko Kawasaki and David Punter. One of the most rewarding of the new essays is that by Joseph Viscomi in
Blake, displaying a vast range of new information about Blake’s faithful patron Thomas Butts.
Among the fascinating conclusions derived from these facts is that when Butts ordered duplicates of Blake’s
designs, he may have intended them for different houses he owned, one of them used for a school for a young
ladies, and that the biblical subjects of many of these designs may have had a pedagogical function.

Blake also serves Blake scholarship with its extensive reports of “Blake in
the Marketplace” by Robert Essick and of “Blake and His Circle,” to which a whole issue is devoted.

One especially rewarding essay is the one by Stuart Peterfreund in
Eighteenth-Century Life (1994) with its argument about “Blake—Prophet Against Ideology.”
Another is Stephen Prickett’s argument in his Origins of Narrative (1996) concerning
“Swedenborg and Blake: The Privatisation of Angels.” And Karen Shabatai’s argument concerning
“Blake’s Hostility Towards the Jews” in ELH (1996) raises disturbing issues which
warrant serious reflection, though “Blake appears at best uninterested in the ‘Jewish question.’”
Michael Grenfell makes an attractive though much overstated case in the Journal of the Blake
Society of St James (1996) that “A Gnostic view is ‘the’ key to understanding Blake’s dense
mythologies,” and G. E. Bentley, Jr. provides illuminating parallels between the careers of “James Parker
and His Partner William Blake” in Studies in Bibliography (1996).

There are the usual quota of attempts to consider Blake in terms of modern intellectual
fashions like feminist theology, as well as a number of agreeable diversions. These include James Bogan’s
“centrifugal lark” in “Blake on a Bike,” the “electronic concert dedicated to the life and work of
William Blake,” and the Blake “Xword” (all in Journal of the Blake Society at St
James). A few arguments seem particularly labored or perverse, such as Peter Ackroyd’s claim in
The Independent (1993) and elsewhere that Blake was a “Cockney” (in the novel sense that he
“expressed the true nature and spirit of London”). I should relish hearing that great London-lover Dr.
Johnson respond to the allegation that he was a Cockney. Some arguments seem to be expiring, like Laocoön, in
the grip of irresistible critical jargon, such as the claims that “Blake appropriates the homology between
biological and non-biological creativity to address the politics of the copied text” (Julia Wright), that
Molly Anne Rothenberg’s book is written “in post-structuralist and ‘post-post-structuralist’ terms,”
and that in Jeanne Moskal’s book “the intrapsychic wins out over the intersubjective.”

Though a number of critical books are newly recorded here, few have much pretension to novelty.
Noriko Kawasaki’s Eden wa Kitaka: William Blake Ronshu: On the Location of
Eden: Studies on William Blake (1996) reprints five of her essays in Japanese (1988-95), one of them
translated from English for the purpose, and David Punter’s William Blake (1996) reprints
10 essays of 1970-87 by various authors. Victor Paananen’s William Blake (1996) is an
“Updated Edition” of a modest little book first published in 1977. I have not been able to see, and
therefore cannot comment on, Richard O’Keefe’s Mythic Archetypes in Ralph Waldo Emerson:
A Blakean Reading (1995) (except to say that it is presumably a revised version of his dissertation),
François Piquet’s Blake et le Sacré (1996) (ibid.) or William Richey’s
Blake’s Altering Aesthetic (announced for November 1996).

Violet Tengberg’s William Blake’s “The Tyger”: En konstvelenskaplig
analys och tolkning (1994) is a study in Swedish of the Songs, reproduced from typescript
and of modest dimensions and pretensions.

The two most substantial new critical books recorded here are Frank Vaughan’s
Again to the Life of Eternity: William Blake’s Illustrations to the Poems of Thomas Gray
(1996), with 139 folio pages and 116 plates, and Andrew Lincoln’s Spiritual History: A
Reading of William Blake’s Vala or The Four Zoas (1995), a very
substantial work though strangely unillustrated. Vaughan’s book, which reproduces all Blake’s watercolors
for Gray in reduced size and monochrome, concludes very oddly that “Blake was not much interested in
illustrating” Gray (7), even though he must have spent a great deal of the time on his designs for his good
friend John Flaxman. Even more curiously, the Gray designs are said to have been intended to implant “not
knowledge but a radical burning doubt” (18). These are strange conclusions for the poet who wrote:

He who shall teach the Child to Doubt
The rotting Grave shall neer get out. . . .
He who Doubts from what he sees
Will neer Believe do what you Please.
If the Sun & Moon should doubt
Theyd immediately go out.

One may suspect that the purpose discovered in the Gray designs. “To educate one to rebel” (116) and “to
free the mind-forged manacles” (rather than “to free the manacled mind”) tells us more of what the
critic wishes than of what the artist intended.

Andrew Lincoln’s Spiritual History is an altogether more substantial and
rewarding book, the most valuable critical work newly recorded here. It is a detailed “staged reading” of
Vala or The Four Zoas designed for “new readers of The Four
Zoas” (v, ix) but rewarding for critics of all levels of experience and sophistication. One of its most
valuable features is its analysis of the poem as “a universal history” (1), with the aid of illumination
from contemporary historians such as Gibbon. The Last Judgment in the poem reveals that man’s prison “in a
finite vision of the natural world” is a “prison locked from the inside” (190); we are the inmates of
ourselves, and the key to escape is in our own hands. Andrew Lincoln’s Spiritual History
is a work to which one can return repeatedly for light upon Blake’s poem—and upon the nature of
humanity.

Completed this 27th Day of January 1997 at East Lake Apartments, Dongzhimenwai
Dajie, Beijing

Division I: William Blake

Part I Editions, Translations and Facsimiles8↤ 8 N.b. In this checklist, “facsimile” is taken to mean
“an exact copy” attempting very close reproduction of an original named copy including size of image,
color of printing (and of tinting if relevant), and size, color, and quality of paper, with no deliberate
alteration as in page-order or numbering or obscuring of paper defects.

Section A: Original Editions

Europe (1794[-1831])

Copy B

History: . . . Copy B from Glasgow University is reproduced in the 1996 2 February-7
April catalogue of the Fundación “la Caixa” in Madrid, plates 28a-q.

The First Book of Urizen (1794[-1815?])

Plate 1

History: . . . Lent by “The Keynes Family Trust on deposit at the Fitzwilliam Museum”
to the 1996 2 February-7 April exhibition of the Fundación “la Caixa” in Madrid, No. 30a.

According to a prospectus (?1925), ordinary copies of this facsimile of the copy of Miss
C. Carthew were for sale at 15s and 55 copies (only 50 of which were for sale) on
“platinotype paper” at £4.4.0.9↤ 9 A copy of the prospectus for all Hollyer’s Blake reproductions is with
the Muir facsimile of For the Sexes in the West Sussex Records Office; the prospectus
presumably pre-dates Hollyer’s reproduction of All Religions are One (1926), which is not
mentioned there.

Jerusalem (1804[-20?][-1832?])

Copy E

History: It was reproduced again in color in the Italian facsimile (1994).

Plate 1

History: . . . Lent by “The Keynes Family Trust on deposit at the Fitzwilliam Museum”
to the 1996 2 February-7 April exhibition of the Fundación “la Caixa” in Madrid, No. 53a.

Edition

Jerusalem, ed. M. D. Paley (Blake Trust, 1991) <BBS 88>.

The same ektachromes were apparently used in the facsimile edited by Marcello Pagnini
(1994).

12 §Daniel Mark Epstein, “The Two William Blakes,” New Criterion,
XIII, No. 2 (October 1994), 10-22 (with Viscomi’s Blake and the Idea of the Book [1993]
and the other Blake Trust volumes).

13 Iain Sinclair, “Customising Biography,” London Review of Books,
22 February 1996, 16-19 (with Peter Ackroyd, Blake [1995], and the Blake Trust reproductions
of Songs of Innocence and of Experience [1991], The Early Illuminated
Books [1993], The Continental Prophecies [1995], Milton [1993], and
The Urizen Books [1995]) (there is no indication that Sinclair has looked at
Jerusalem—for a protest, see John Commander, below).

Vol. I is a facsimile of copy E, apparently using the same ektachromes as in the 1991
Blake Trust edition.

Receipt

1805 July 5

History: Bought with the Joseph Holland Collection by John Windle in 1995 and (according
to Essick, Marketplace, 1996) and sold in June 1996 to the autograph dealer Kenneth Rendell.

Songs of Innocence (1789[-1808?])

Copy X <BBS 120-21>

History: Pl. 9-10 from the Fitzwilliam and pl. 13-14, 16-19, 23-25, 27, 34-36, 53-54 (the
rest) from the National Gallery of Victoria (Melbourne) are reproduced together in the 1996 2 February-7 April
catalogue of the Fundación “la Caixa” in Madrid, editions 17a-q.

§Announcing the Felpham Edition of Songs of Innocence by William
Blake: An Intaglio[e] Plate Book Designed & Printed in Colour at the Pear Tree
Press and Now Offered for Subscription. (Flansham, Bognor Regis, Sussex: Pear Tree Press, 1937) 4 leaves.

G. Kaiensi [G. Keynes], “Yinhan [Introduction]” (1-8); T.S. Ailuete [T.S. Eliot],
“Weillian Bulaike [William Blake]” (1-8 [bis]); “Fan zhe de hua [Translator’s comments],” dated the
Fiftieth Anniversary of the War of Resistance Against Japanese Aggression, 13 August 1937 (204). The text
consists of faint pale Gray reproductions of the Songs from the reproduction edited by
Geoffrey Keynes (1970) of the Blake Trust facsimile (19) of copy, with facing translations into Chinese and
followed by short comments.

12 §Daniel Mark Epstein, “The Two William Blakes,” New Criterion,
XIII, No. 2 (October 1994), 10-22 (with Viscomi’s Blake and the Idea of the Book [1993]
and the other Blake Trust volumes).

13 Iain Sinclair, “Customising Biography,” London Review of Books,
22 February 1996, 16-19 (with Peter Ackroyd, Blake [1995], and the Blake Trust reproductions
of Jerusalem [1991], The Early Illuminated Books [1993], The
Continental Prophecies [1995], Milton [1993], and The Urizen Books
[1995]) (there is no indication that Sinclair has looked at Songs—for a protest, see John
Commander, below).

New Entry

Spectacles at Felpham (illus. 1)

Half a pair of nineteenth-century spectacles, found about 1928 in a piece of rotting wood
when the floor of Blake’s cottage in Felpham was relaid, may have been the poet’s about 1803. They have
simple magnification of 1.75 (1.0 being neutral). The spectacles, which fit neatly on the life-mask of Blake,
belong to Mrs. Heather Howell, the owner of the cottage.10↤ 10 The spectacles Blake owned when he died are in the Fitzwilliam Museum
(see Blake [1996]).

There is No Natural Religion (1794-95)

Copy E

History: (5) From Mrs. Ramsay Harvey, it passed by inheritance

1 Half of a pair of gold-framed spectacles which were found about 1928 in Blake’s cottage in Felpham
and which may have belonged to Blake.
They now belong to the owner of Blake’s cottage on Blake’s Road, Felpham, who courteously
supplied these photographs. Photo courtesy of Devereux Photography, Felpham. If any Blake readers should want
a print of these photos, Mrs. Heather Howell writes that she would be happy to obtain them through Devereux
Photography. Please contact her at Blake’s Cottage, Blake’s Road, Felpham, Bognor Regis, West Sussex, PO22
7 EB.

to (6) Mr. Giles Harvey.11↤ 11 It was withdrawn from the Christie sale of the other Harvey Blakes (30
Nov 1993) when its authenticity was questioned on the basis of the discoveries of Joseph Viscomi.

1 Iain Sinclair, “Customising Biography,” London Review of Books,
22 February 1996, 16-19 (with Peter Ackroyd, Blake [1995], and the Blake Trust reproductions
of Jerusalem [1991], The Early Illuminated Books [1993], The
Continental Prophecies [1995], Milton [1993], and The Urizen Books
[1995]) (there is no indication that Sinclair has looked at The Continental Prophecies—for
a protest, see John Commander, below).

3 §Daniel Mark Epstein, “The Two William Blakes,” New Criterion,
XIII, No. 2 (October 1994), 10-22 (with Viscomi’s Blake and the Idea of the Book [1993]
and the other Blake Trust volumes).

4 David Worrall, Year’s Work in English Studies for 1993 (1996), 322
(“splendid”).

5 Michael Ferber, Blake XXIX, 3 (Winter 1995-96), 88-90 (“an
altogether splendid volume,” with “the most lucid and succinct summary of Blake’s methods of book
production that I have ever seen” [88]).

6 Iain Sinclair, “Customising Biography,” London Review of Books,
22 February 1996, 16-19 (with Peter Ackroyd, Blake [1995], and the Blake Trust reproductions
of Jerusalem [1991], Songs of Innocence and of Experience [1991],
The Continental Prophecies [1995], Milton [1993], and The Urizen
Books [1995]) (there is no indication that Sinclair has looked at The Early Illuminated
Books—for a protest, see John Commander, below).

“The Edition of the Works of Wm. Blake” printed by William Muir at “The Blake Press
at Edmonton,” England (1884-1936) <BB #249, BBS 152-55>.

2 Life mask of William Blake wearing the half-pair of spectacles. When the mask was
made, the clay pinned his ears to his head, so the spectacle-frame had to be fixed to his head with
anachronistic sellotape.
Photo courtesy of Devereux Photography, Felpham.

The Rev. Mr. Arthur Chichester Crookshank (1889-1958) acquired from Quaritch most of the
Muir facsimiles, many of them identified as “Mr Muirs Master Copy,” which he bequeathed
to the West Sussex Record Office <WSRO>. All these Master Copies have notes made in Quaritch’s shop
(“Q”), and some have notes by Muir (“M”) as well. In the record below, the details not in
Blake Book Supplement are given in bold face, and the copy reproduced is given within
parentheses “(A).”

America (A)

Q: “copied from an original [A] lent to Mr Muir by Mr Quaritch in
1905. It is now in the U.S.A. 24 copies were sold by Messrs Quaritch.”
<WSRO>.

Ancient of Days [Europe pl. 1] (D)13↤ 13 The note appears on the verso of the last leaf of the first version of
Thel with which it is bound. A duplicate uncolored copy of Europe pl. 1 is
marked “rough proof” “Corrected from life” (WSRO = West Sussex Record Office).

M: “Fifty copies . . . were sold by Mr Quaritch (at 21/- each—All numbered)
between 18th May 1885 and 14th August 1919[.] | P.S. Reference to
documents shows me that the above statement is not quite correct, Mr Pearson had sold nine
copies before Mr Quaritch began”; “Coloured from an original by Blake in the British
Museum.” <WSRO>.

Book of Thel [first version] (D)14↤ 14 With it is a much-corrected “Rough proof” of Muir’s “Proposal for
the Prophetic Books and the Songs of Innocence and of Experience by W Blake.”

M: “Copied from British Museum Copy [D]”; “Fifty Copies of this Book (all numbered)
were produced and sold in 1884-90 at £2.2 0[.] Mr_Pearson sold the first twenty copies
between October 1884 and April 1885. At that date he retired from business because ‘he found that he had
£20,000 and he did not want more’[.] He introduced me to Mr Quaritch, who continued the
work[.] He received and sold the remaining thirty copies between 27th April 1885 and 8th September 1890[.]” <WSRO>.

Book of Thel [second version] (J)

Q: “24 copies have been sold”; M: “This copy of Thel [J] is coloured from one that
Mr Bernard Quaritch lent to me in 1885-6. He sold it afterwards to an American [Amy Lowell
c. 1900], so it is now in the U.S.A.” With it are duplicates of pl. 2, 4, 6-7, identified (M) on a separate
leaf: “The four pages just before this are from originals [from the Small Book of Designs]
in the B. M. print Room | They were coloured by [Miss] E. J. Druitt” as in color-printing.
<WSRO>.

Book of Thel [third version] (A)

“The Beckford copy” (i.e., A), bought by Quaritch at the Beckford sale in 1883, sold
to E. W. Hooper in 1891. Both the second and third versions in the WSRO have inscriptions on the designs: Pl.
2 (titlepage): “Lives [?Loves] of the plants15↤ 15 Part II (1789) of Erasmus
Darwin’s Botanic Garden was called “The Loves of the Plants.” in Summer”; pl. 4: “Flowers personified”; pl. 6: “Spring”; pl. 7: “Fallen
seeds protected by the earth Autumn.” The third version facsimile also has a note: “Perhaps Beckford got
these titles from Blake when buying the Book,” though this copy of the book was in the Cumberland sale of
1835 before Beckford obtained it. <WSRO>.

Europe (A, D, c]

Q: “with 2 pp. added from Blakeana . . . 50 copies were sold by Messrs Quaritch
|‘Blakeana’ was a vol of scraps[;] the Macgeorge fragment is now in U.S.A.” Part of this volume of
Blakeana <BB #125> was sold by Quaritch in 1886 to William Muir, and the rest was sold
by Quaritch to B. B. MacGeorge by 1906 and acquired by George C. Smith of the United States by 1927.16↤ 16 Another copy of Muir’s Europe is inscribed: “This is an uncolored copy
of Europe | It is of no special value | Mr Muir offers it for your acceptance.”
<WSRO> <WSRO>.

For the Sexes: The Gates of Paradise (F)

M: “About 20 copies have been made and sold[,] the Text [is] printed
W Muir” (the text is in fact printed from movable type). <WSRO>.

Marriage of Heaven and Hell [second version] (F) M, “Forest Gate May
1920”: “This is a careful copy of a copy by Chatto & Windus c. 1864 <BB #99>
From the Original [F] that belonged to D.G. Rossetti.” “This copy is facsimiled after the Dante Gabriel
Rossetti Copy—The titles given to the plates are after the Beckford copy [A].”17↤ 17 The Crookshank Collection also has a copy of the First Version of Muir’s
facsimile of the Marriage made from copy A. “20 copies have been sold.” The inscriptions are: Pl. 1
(titlepage): “Union of the Elements”; pl. 2: “Earth”; pl. 3: “Fire”; pl. 4: “Water”; pl. 5:
“Air”; pl. 11: “Dawn”; pl. 14: “The Body of Hector”; pl. 15: “Genius”; pl. 16: “Ugolino”;
pl. 20: “A Dream”;18↤ 18 Inscribed at the bottom in Muir’s Brown ink: “The Background should
be quite smooth| The reds in the Serpent should be brighter.” pl. 21:
“Satan addressing the Sun”; pl. 24: “Arbitrary Power.” It is reproduced from a color-printed copy, and
the only color-printed copy is F, which was bought by R. M. Milnes in 1852 and sold by his son in 1903. There
seems to be no other evidence that copy F (or any other copy) “belonged to D.G. Rossetti.” <WSRO>.

Marriage of Heaven and Hell [third version] (I)

M: “Mr Muirs Master Copy of the Fitzwilliam Heaven
& Hell | about five copies were sold[.] The original is in the FitzWilliam Museum Cambridge.” “Copied
in April 1886 by J. D. Wallis from the original in the Fitzwilliam Museum at Cambridge. | Note the letter
press should all be printed in red, not in yellow.” The titlepage verso in inscribed in pencil “Richard
Edward Kerrick | August 31st 1856” as in copy I. “Coloured thus £4.4.0.” It bears
annotations from the Beckford copy. <WSRO>.

Song of Los (A)

M: “This is Mr Muir’s Master Copy of the Song of Los copied from
the original in the British Museum [A] | 21 copies were sold by Messrs Quaritch.”
<WSRO>.

There is No Natural Religion (A, H, L)

“Mr Muirs Master Copy of No Nat Relig | 50 copies were sold | I do
not know where the original is now.” Facing pl. b12 (“God becomes as we are that we may be as he is”) is
a quotation from Irenaeus about the phrase (see William Blake’s Writings [1978], 14). On
the first flyleaf is a transcription of All Religions are One with a note: “This little
book is copied from illustrated leaves in the possession of the Linnell family . . . W Muir”; Muir never
made a facsimile of All Religions are One. <WSRO>.

3 §Daniel Mark Epstein, “The Two William Blakes,” New Criterion,
XIII, No. 2 (October 1994), 10-22 (with Viscomi’s Blake and the Idea of the Book [1993]
and the other Blake Trust volumes).

4 Dennis M. Read, Blake, XXIX, 3 (Winter 1995-96), 91-92 (“there is
much to praise, little to question, and less to criticize in this splendid volume” [92]).

5 Iain Sinclair, “Customising Biography,” London Review of Books,
22 February 1996, 16-19 (with Peter Ackroyd, Blake [1995], and the Blake Trust reproductions
of Jerusalem [1991], Songs of Innocence and of Experience [1991],
The Early Illuminated Books [1993], The Continental Prophecies [1995], and
The Urizen Books [1995]) (there is no indication that Sinclair has looked at Milton
. . . and the Final Illuminated Books—for a protest, see John Commander, below).

6 David Worrall, Year’s Work in English Studies for 1993 (1996), 323
(“splendid”).

The text of the Songs and poems from the Notebook and
the Pickering MS is apparently taken from Selected Poems [ed. P. H. Butter] (1981) <BBS 164> [which in turn is taken from Poems & Prophecies, ed. Max
Plowman (1927) <BB #287>].

1 Iain Sinclair, “Customising Biography,” London Review of Books,
22 February 1996, 16-19 (with Peter Ackroyd, Blake [1995], and the Blake Trust reproductions
of Jerusalem [1991], Songs of Innocence and of Experience [1991],
The Early Illuminated Books [1993], The Continental Prophecies [1995], and
Milton [1993]) (there is no indication that Sinclair has looked at The Urizen
Books—for a protest, see John Commander, below).

Blake’s Bunyan designs (see illus. 1-4) were offered by the Frick Collection (N.Y.)
(along with a design for Paradise Regained) at §Sotheby’s (London), 14 November 1996, Lot
243 (estimate £260,000-£340,000), bought in, and sold to an Anonymous British collector. For behind the
scenes details, see Essick, Marketplace, 1996.

Gray, Thomas, Poems

Blake’s 116 watercolors for Gray are reproduced in reduced size and monochrome in Frank
A. Vaughan, Again to the Life of Eternity (1996).

Milton, John, Paradise Regained

“The First Temptation” from the Paradise Regained series (see
illus. 5) was sold by the Frick Collection to an Anonymous British collector—see Bunyan (above).

Section B: Collections and Selections

William Blake at the Huntington, ed. Robert N. Essick (1994) <Blake (1995) under Art>.

This is a facsimile of the copy in the National Library of Wales, with Jennifer Macve &
Andrew Sclater, “Introduction” (1-10, 15-16), and Donald Moore, “The artist Thomas Jones at Hafod”
(11-14, 16). A section on “Hafod in 1795 and Blake’s Map” (9-10) concludes that “One must . . . keep
an open mind” as to what part Blake had in the map.

Blake was probably referring to his engraving (c. 6.8 × 11.0 cm) for Euler’s
Elements of Algebra when he told the Revd. Dr. Trusler on 23 August 1799: “I had Twelve
[Guineas] for the [small engraved] Head I sent you.”19↤ 19 He could alternatively but less plausibly be referring to his engraving
of the head of John Brown (c. 11 × 13 cm) for Brown’s Elements of Medicine (1795) or to
one of the heads of Catullus and Cornelius Nepos (each c. 10 × 17 cm) for Poems of Caius
Valerius Catullus (1795).

The wood-engraving in William Hayley, The Life and Posthumous Writings of
William Cowper (New York: T. & J. Swords, 1803), Vol. II, at p. 245, of “The Weather-house” and
“Cowper’s Tame Hares” (8.3 × 11 cm) signed Alexander “Anderson F[ecit]” was
copied from the design signed “Blake d & sc” in the edition of London: J. Johnson, 1803, as R. N.
Essick was the first to point out in Marketplace, 1996, illus. 8. The plates engraved by Peter Maverick of
Cowper and of Cowper’s mother (Vol. I, frontispiece and at p. 3) are copied from Blake’s engravings after
George Romney and D. Heins.

The copy of Lavater’s Aphorisms (1788)20↤ 20 Seen 15 May
1996 through the courtesy of Arthur Freeman and Ted Hoffman at Quaritch’s (London). signed and annotated by “Thos: Butt | 23 Augt 1789—” <Blake (1996)> almost certainly has nothing to do with
Blake’s London patron Thomas Butts; rather it belonged to a contemporary, perhaps of Bridgmouth, Shropshire,
with a coincidentally similar name, who annotated it (as Lavater directed) with symbols indicating his likes
and dislikes and with occasional notes such as that for Aphorism #539 concerning four women with virtues so
rare that there will scarcely be found one in each quarter of the world:

Plate 4: The plate signed “Blake sculp” below and to the right of the image also has
“Blake Sc” “very lightly scratched immediately below, and on the same diagonal as, the line defining the
lower margin of the figure’s neck” (as was first recorded in Essick, Marketplace, 1996).

The Quality of the Engravings

According to the engraver Thomas Holloway, who supervised the plates for Lavater’s
Essays on Physiognomy,
↤ 21 “Observations Submitted to the Consideration of Doct Hunter Mr Johnson—two of the proprietors of Lavater—and the Execs of the late Mr
[John] Murray” dated January 1802 in the archive of the publisher John Murray, printed
here (like the other Murray Archive papers) by permission of John Murray.

It was not long before TH found that in spite of all his Care & even expostulations with most of the
Artists—
begin page 131 |
↑ back to top
the work they brought home was distressingly inaccurate—many plates were destroyd totally—and those which
were the best executed were frequently so errone[o]us both in outline & expression that
many parts were obligd to be hammerd out & reproduced—a piece of work this the most
painful & the most mortyfying imaginable to TH— . . .
A great number of the plates were necessarily repaird in some instances twice in a few instances 3 times
making the plates equal to duplicates—which was the case with the Venus de Medicis & others—without
this attention the major part of the Impressions wou[l]d have been weak & the Reputation of the work most
materially injured . . .
The work executed by TH & others was in its Kind unique .... Without Vanity it is presumed that for
Correctness as well as for execution it Stands unequalld-21

Payment for the Engravings

In Holloway’s list of “Expenses attending the Engravings of Lavater . . . during the
years 1787 to 1799” is “Blake ..... [£]39.19.6,” a somewhat moderate payment for three small plates and
one large one.

Holloway’s figures indicate the following prices for Lavater:

↤ 22 This is the total given in Holloway’s list of what he paid to
individual engravers; the total in his list of what he paid year-by-year is £2,683.13.6 [this is mis-added by
Holloway; it should be £2,628.13.6].
Of the 37 engravers for Lavater named in Holloway’s list,
only 24 names are recorded on the engravings themselves (113 plates), “Holloway Direxit”
is on 156 of them, and 267 are anonymous.

The 537 copperplates for Lavater’s Physiognomy were sold to John
Stockdale, who published an edition in 1810. After Stockdale’s death (1814), “the Remaining
Stock of the Estate of the Late Mr. John Stockdale; consisting chiefly of Copper Plates, together with
the Copyrights to the Works, to which they belong” was offered for sale at auction by Robert Saunders on 3
January 1818, and the “Five hundred and thirty-seven [copperplates]—Lavater’s Physiognomy, by Hunter,
4°, and Copyright” were sold for £210 (according to the marked copy in the British
Library; no buyer is listed for any of the lots).

Silent Reprint of the Book

The plates were subsequently printed on paper watermarked as late as 1817 but dated 1792 on
the titlepages and bearing the names of the original publishers but not that of the 1817 buyer of the
copperplates. Perhaps the new owner discovered belatedly that the copyright he had acquired was for the plates
only and did not include the copyright of Dr. Henry Hunter’s translation of Lavater. He may therefore have
decided that it was safest to conceal the date and to pretend that this was the original edition.

Malkin, B. H., A Father’s Memoirs of his Child (1806) New Location:
Toronto Public Library (Osborne Collection of Early Children’s Books).

Appendix Books with Engravings Implausibly Attributed to Blake

The Minor’s Pocket Book (1813)

Fuller details of the plate attributed to Blake in [Ann Taylor et al.], The
Minor’s Pocket Book, for the Youth of Bothbegin page 132 |
↑ back to topSexes ([London:] Darton, Harvey, and Darton, 1813) are recorded and the Blake connection
rejected in Essick, Marketplace, 1996.

§Plutarch’s Lives: Abridged, Selected and Adapted for Youth . . . as
an Introduction to Classic Reading for the Use of Schools by J[ohn] Faucit Saville. ([London:] Printed for R.
Hill, 1823) 116 pp.

It is claimed to have a “Frontispiece by William Blake.”

Part IV Catalogues and Bibliographies

The Blake lots are 1-70, 668-70, including Blake’s copy of Barry’s Account
of a Series of Pictures (1783) and nine works inscribed “Original Drawings by William Blake” [?now in
the New York Public Library], “an interesting imposture.”

Steer, Francis W. “William Blake.” Pp. 6-14 of The Crookshank Collection
in the West Sussex Record Office: A Catalogue. Ed. Francis W. Steer. (Chichester: West Sussex County
Council, 1960) See also xii-xvi and passim.

Catalogue [of the University of California (Santa Barbara) Art Galleries
exhibition for the Blake conference 2-5 March 1976].

Fifteen mimeographed leaves with 99 entries (most of the original Blakes from the
collection of R. N. Essick). The catalogue was expanded (to 94 pp.), annotated, and illustrated in the
catalogue of William Blake in the Art of His Time (24 February-27 March 1976) <BBS 293>.

1989

Martin Butlin & Ted Gott. William Blake in the Collection of the National
Gallery of Victoria (Melbourne, 1989) <BBS 306>.

1 G. E. Bentley, Jr., in Blake, XXX (1996), 25-31 (“Fitch’s search
for music set to Blake texts seems to have been wonderfully comprehensive” [27]; the Appendix here [28-31]
lists addenda and corrigenda).

1991 October

Records of the William Blake Bicentenary Celebrations (1955-59), MS 615
Department of Manuscripts and Special Collections, Hallward Library, University of Nottingham. ([Nottingham:
University of Nottingham, October 1991]).

A five-page printed catalogue of “minutes, correspondence, photographs of Blake’s
paintings, news cuttings, agreements and financial material . . . given to the Library in 1991 by Mr John
Pyke, whose wife, then Miss D. Vaughan, assisted the committee in its work.”

1 Luis Monreal (Director General, Fundación “la Caixa”), “Presentación” (11),
“Foreword” (217): A prime reason for organizing the Blake exhibition is “the fact that his work is not
present in any Spanish museum or collection.”

2 Robin Hamlyn, “William Blake (1757-1827)” (12-29 in Spanish; 219-28 in English): A
general account for a Spanish audience.

4 Estella de Diego, “La invención de William Blake” (43-52); “The Invention of
William Blake” (237-42): “Blake is pervaded by life,” and “it is hard to tell just how much the
Surrealists actually read of Blake” (240, 237).

5 *[Adela Morán & Montserrat Gómez], “Catalogo” (53-210, with descriptions only
of the 180 color plates reproduced, which include Innocence [X], Europe
[B], and the Job engravings [1826]); “Catalogue” (243-59 in English of all 188 items exhibited).

Part V Books Blake Owned

Barry, James, An Account of a Series of Pictures (1783) <BBS 315-16>.

History: (1) It belonged to Samuel Palmer (see below), (2) Whose son inscribed the sketch:
“This is a portrait of Barry by Blake A H Palmer”; (3) Acquired by H. Buxton Forman, who added his
bookplate and a note about it and sold it posthumously at Anderson Galleries, 15 March 1920, Lot 36 [for
$205]; (4) Acquired by G. C. Smith, Jr., described in his anonymous catalogue (1927) <BB
#631>, and sold posthumously at Parke-Bernet, 2 November 1938 <BB #644>, Lot 94
[for $250]; (5) Sold anonymously at Parke Bernet Galleries, 18 February 1942, #68 (“ORIGINAL WRAPPERS”);
(6) Offered in Brick Row Book Shop Catalogue 41 (1954), Lot *1, for $200; (7) Bought from
Jacob Zeitlin of Los Angeles in 1962 by (8) Sir Geoffrey Keynes, who described it in his catalogue (1964)
<BB #687>, No. 721, and sold it posthumously with the rest of his type-printed books
in 1986 to (9) Cambridge University Library.

A copy with the black stamp in each volume of “W:BLAKE” and with paper labels
bordered by hand in red ink on each front paste-down with a brown ink (shelf-list?) number “N° 40[-43].”
to be offered in Marlborough Rare Books Catalogue 165 (1996). No such stamp or number is in any book
demonstrably owned by the poet, nor is such a system or the size of library it implies characteristic of him.
Probably the books belonged to one of the many contemporaries of the poet who bore his name.

Part VI Criticism, Biography, and Scholarly Studies

For his account of writing the book, see Journal of the Blake Society
(1996), 3-4.

Reviews

8 *Jonathan Bate, “William Blake in the new Jerusalem: Jonathan Bate admires Peter
Ackroyd’s biography of the great London visionary,” Sunday Telegraph, 3 September 1995,
p. 9 (“a biography of Blake which is lucid and measured, but also intuitive and empathetic. The scholarship
is impeccable, yet at the same time the novelist has got under his man’s skin”).

9 §John Bemrose, “Burning bright,” Macleans, 6 November 1995. B.
Reprinted in Lonsdale, II, No. 1 (January 1996), 7-8 (“Ackroyd has given the artist a more
palpable, detailed presence than he has enjoyed at any time since his death”).

10 Anon. “Anti-Enlightenment visionary,” Economist Review, 11
November 1995, pp. 4-5 (Ackroyd “sympathises deeply with Blake’s struggles” and takes Blake’s
“visions as seriously and soberly as he did,” but he is “badly served by the book’s designer” and
editor for tolerating muddy plates and prolix “displays of erudition”).

11 *Alberto Manguel, “Genius of Blake revealed: Ackroyd makes it clear we owe the poet a
great many revelations about our senses,” Globe and Mail, [Toronto] 13 January 1996, p.
C20 (with Poems of William Blake ed. Peter Ackroyd [1995]).

12 Iain Sinclair, “Customising Biography,” London Review of Books, 22
February 1996, pp. 16-19 (with the Blake Trust reproductions of Jerusalem [1991],
Songs of Innocence and of Experience [1991], The Early Illuminated Books
[1993], The Continental Prophecies [1995], Milton [1993], and
The Urizen Books [1995]) (an enormous, and enormously self-indulgent, meander through what he
thinks are current intellectual avant-garde matters, commenting incidentally that Ackroyd’s
“Blake is decently crafted fiction over-whelmed by an excess of tyrannical facts” “with
perhaps a little too much fondness for local colour” [18]).

15 Michael Dirda, International Herald Tribune, 21 May 1996, p. 10
(“Peter Ackroyd makes Blake live for the modern reader”).

16 *Kennedy Fraser, “Piper Pipe that Song Again: Peter Ackroyd finds a William Blake for
our time,” New Yorker, 27 May 1996, pp. 126-31 (“This is a book with bounce and push”
about a man whose “work just glows, somehow”).

17 §Colin Steel, Australian Book Collector (April 1996) (with
Viscomi’s Blake and the Idea of the Book [1993]).

18 Anon., Lonsdale, II, No. ii (April 1996), 11-[15] (review of chapters
8-14) (“That which made Blake a truly gifted man was his abilities and talents as a tradesman” [12]).

19 Tim Heath, Journal of the Blake Society (1996), pp. 77-79 (Ackroyd
“builds up a life, slowly, with care and with detail”).

20 *Dharmachari Ananda, “A Grain of Sand in Lambeth,” Urthona, No. 5
[1996], 43-46 (it is “a rich and closely observed biography” with a sharp focus on “tiny but telling
detail,” but “Ackroyd has a tendency to be dogmatic,” and “the whole man manages to elude us”).

“I want . . . to describe those London luminaries and Cockneys [chiefly “that Cockney
visionary William Blake,” Dickens and J. M. W. Turner] who in their art have expressed the true nature and
spirit of London. “Cockney” here appears to mean someone who epitomizes London.

“In Jerusalem Blake sets contraries to the task of building an order in
disorder and disorder in order at the same time—and in the same place”—“an[e]
introduction to a reading” (627), with a survey of Jerusalem criticism (651-54).

A comment, presumably by the editor, Guy C. Eglinton, on reproductions (on the cover and
xxxvii, xxxviii, xl) “from a small but very choice exhibition recently on view at the Metropolitan Museum”
[which is otherwise unknown].

Aoyama, Keiko. “Imi wa dokokara kuruno ka—Blake no Urizen [Daiichi] no
Sho ni okeru Imi-seisei no Purosesu: How Are the Meanings Generated?—William Blake’s Political Stance
in the 1790’s and The [First] Book of Urizen.” Igirisu Romanha Kenkyu,
Igirisu Romanha Gakkai: Essays in English Romanticism, Japan Association of English
Romanticism, No. 19-20 (1996), 41-48. In Japanese.

1 §James O. Allsup, Wordsworth Circle, XXV (1994), 219-
begin page 136 |
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21 (“a golden string that leads us in at the gate of a cleansed perception of not only literature but
criticism”).

*Bentley, G. E., Jr. “The Journeyman and the Genius: James Parker and His Partner William
Blake With a List of Parker’s Engravings.” Studies in Bibliography, XLIX (1996), 208-31
plus 6 plates.

“The career of James Parker demonstrates what that of William Blake might have been like
had he been a steady, reliable workman like Parker—and had he not been a genius” (220).

Volume XXIX, Number 3 (Winter 1995/96 [4 April 1996]) 1 Martin Butlin. “A Rare Group of
Early Twentieth-Century Watercolors by a Follower of William Blake.” Pp. 76-77. (Henry John Stock
[1853-1930] was “befriended by W.J. Linton,” moved to Felpham, and painted from Revelation “Blakean
subjects in totally un-Blakean style.”)

4 Michael Ferber. Review of The Early Illuminated Books, ed. Morris
Eaves, Robert N. Essick, & Joseph Viscomi (1993). Pp. 88-90. (“An altogether splendid volume,” with
“the most lucid and succinct summary of Blake’s methods of book production that I have seen” [88].)

5 Dennis M. Read. Review of Milton a Poem and the Final Illuminated
Books, ed. Robert N. Essick & Joseph Viscomi (1993). Pp. 91-92. (“There is much to praise, little
to question, and less to criticize in this splendid volume” [92].)

8 Janet Warner. Review of Steven Vine, Blake’s Poetry: Spectral Visions
(1993). P. 96. (“Often the critic is undermined by the energy and mystery of his poet,” but “the
approach that seemed confusing in The Four Zoas works brilliantly in Vine’s concise
discussions of Milton and Jerusalem.”)

9 Andrew Lincoln. Review of the production of Blake’s Innocence and
Experience by Elliot Hayes [1983 <BBS 503>], with Michael Loughnan as William
Blake. Directed by Valerie Doulton; designed by Gary Thorne; music for songs by Loreena McKennitt. At the
Tristan[e] Bates Theatre, Tower Street, London, 12-18 June 1995. P. 97. (“The limits of the play, and Valerie
Doulton’s expert handling of them, make for a portrait that is definite, determinate, and impossible to
forget.”)

11 Keri Davies. Review of “‘The Genitals are Beauty.’ Exhibition of ‘An Interior of
William Blake.’ House of William Blake, London. July-August, 1994.”24↤ 24 The title here is confused. The exhibition of “An Interior for [sic]
William Blake” <Blake (1995)> was on 1-14 August 1994; that of “The Genitals are
Beauty” <Blake (1996)> (reviewed here) was on 6-17 February 1995, as the review
makes clear. Pp. 102-03. (The genitalia exhibition “tied together a
roomful of genitals with some of the kitschy inheritance of St. Valentine’s Day.”)

Blake/An Illustrated Quarterly

Volume XXIX, No. 4 (Spring [July] 1996)

1 *Robert N. Essick. “Blake in the Marketplace, 1995, Including a Survey of Blakes in
Private Ownership.” Pp. 108-30. (A masterfully detailed catalogue, including as an “Appendix: New
Information on Blake’s Engravings” [130].)

2 *G. E. Bentley, Jr., With the Assistance of Keiko Aoyama for Japanese Publications.
“William Blake and His Circle: A Checklist of Publications and Discoveries in 1995.” Pp. 131-68.

3 Anon. “William Blake Collection Moves Home.” P. 168. (The Preston Blake Collection
has been moved from a branch of the Westminster Public Library [at 35 St Martin’s Street] to the City of
Westminster Archives Centre [at 20 St Anne Street].)

4 Anon. “Blakean Art News: Milton.” (Milton [i.e., “The Bard’s
Song”] will be performed twice, apparently by Golgonooza Productions, in Boulder, Colorado, in November
1996, with “a virtual universe based on Blake’s artwork.”)

Blake/An Illustrated Quarterly

Volume XXX, Number 1 (Summer [September] 1996)

1 Joseph Viscomi. “A ‘Green House’ for Butts? New Information on Thomas Butts, His
Residences, and Family.” Pp. 4-21. (An enormous mass of valuable detail about the family and residences of
Thomas Butts’s family suggests that his son Thomas Butts [Jr.] may not have been the anonymous vendor of the
Blakes in the Sotheby sales of 26-27 March and 26 June 1852 [20].)

2 Denise Vultee. “Apollonian Elephant?” P. 22. (The “Apollonian elephant,” as E.G.
Marsh in 1802 identifies Blake’s engraving for Hayley’s Elephant Ballad, derives not from the
elephant-free Argonautica of Apollonius of Rhodes referred to in the same letter but from
Philostratus’ The Life of Apollonius of Tyana, a neo-Pythagorean philosopher of the first
century A.D.)

5 G. E. Bentley, Jr. Review of Donald Fitch, Blake Set to Music (1990).
Pp. 25-31. (“Fitch’s search for music set to Blake texts seems to have been wonderfully comprehensive”
[27]; the Appendix here [28-31] lists addenda and corrigenda.)

§Ernst, C. “The Vocation of Nature.” Pp. 59-73 of The Limits of Human
Nature: Essays Based on a Course of Lectures Given at the Institute of Contemporary Arts, London. Ed.
Jonathan Benthall. (London: Dutton, 1974).

1 Andrew Lincoln, Blake, XXIX, 3 (Winter 1995-96), 97 (“the limits of
the play, and Valerie Doulton’s expert handling of them, make for a portrait that is definite, determinate,
and impossible to forget”).

James, David E. “Angels out of the Sun: Art, Religion and Politics in Blake’s
America.” Studies in Romanticism, XVIII (1979) <BBS
524> B. Reprinted in “abbreviated” form in William Blake, ed. David Punter (1996),
54-70.

10 Jim Dewhurst, “Is The Tyger All About IT?” Pp. 3-6. See Journal of the
Blake Society (1996) for a letter of agreement by Thomas F. Dillingham and an account by Dewhurst of the
origin of his essay.

*The Journal of the Blake Society at St. James (1996).

1 The Editors [Jim Dewhurst & ?Pauline Wilson26↤ 26 Jim Dewhurst is said to be “Co-designer of this journal interior with Pauline Wilson”
(80). ]. “Editorial.” P. 2. (An invitation for “contributions on any work
that is conceived within a Blakean spirit, however that may be defined.”)

2 Peter Ackroyd. “The Writing of Blake.” Pp. 3-4. (A general account of the writing of
his biography called Blake.)

3 *G. E. Bentley Jr. “‘I Hear a Voice You Cannot Hear’: William Blake’s
Audiences.” Pp. 5-18. (“The world was not much interested in William Blake . . . the audience he most
valued was in heaven and in his own mind” [18].)

6 Jason Whittaker. “Blake and the Native Tradition.” Pp. 48-56. (An attempt “to
sketch briefly the significance of the giant Albion and two groups of his sons, the bards and druids, for
Blake’s religious vision” [48].)

9 Thomas F. Dillingham. “Blake and The Tyger.” Pp. 60-61. (Agrees with Jim Dewhurst,
“Is The Tyger All About IT?,” Journal of the Blake Society [1995], 33-36, “that the
tiger is, at least in part, an embodiment of the sexual energy of the phallus”; with a “Note from Jim
Dewhurst” [61] about the origin of his essay.)

10 Michael Edwards. “William Blake on Tape.” P. 61. (Would anyone like to finance and
promote his tape of a reading by a Dartington College student from the Songs and
Marriage “with my music score”?)

Information

11 Chris Rubinstein. “Memorabilia (2).” P. 62. (The Finch Foundry, which “dates from
around 1800,” is at Sticklepath.)

12 Kevin Kewell. “Blake on the Internet.” Pp. 62-63. (“blake@albion.com . . . is an
‘electronic concert dedicated to the life and work of William Blake’,” and
“http:library.utoronto.ca/www/utel rp/authors blake.html” has “much to say on Blake and English
poetry.”)

13 Anon. “The Hammer of Los—‘I remember! I remember!’” P. 63. (There were four
performances in October 1996, and “Any financial contributions welcomed!”)

19 Peter Cadogan. Review of George Goyder, The Just Enterprise. Pp.
70-72. (The book, by the President of the Blake Society, is about what happens “if we treat human beings as
human beings” in industry.)

2 “Maigo no Imeji ni tsuite: William Blake to Makuranososhi ‘Mino Mushi’ no Dan no
Hikaku Kenkyu: On the Imagery of the Lost Child: Starting from a Comparative Study of William Blake’s Poetry
and the ‘Minomushi’ Passage of Makura-no-Soshi.” Pp. 39-66. (Reprinted from
Ningen Bunka Kenkyu Nenpo, Ochanomizu Joshi Daigaku: Bulletin of the Doctoral Research Course in
Human Culture [Ochanomizu Women’s University], No. 12 [1988], 75-89.)

5 “William Blake ni okeru ‘Mushi’ to ‘Katachi’: Form and Worm in William
Blake.” Pp. 107-45. (Translated by the author into Japanese from pp. 96-113 of her essay in
Centre and Circumference: Essays in English Romanticism [by members of the] Association of
English Romanticism in Japan. Ed. Kenkichi Kamijima. [Tokyo: Kirihara Shoten, 1995].)

*Kawasaki, Noriko. “Maigo no Imeji ni tsuite: William Blake to Makura-nososhi ‘Mino
Mushi’ no Dan no Hikaku Kenkyu: On the Imagery of the Lost Child: Starting from a Comparative Study of
William Blake’s Poetry and the ‘Minomushi’ [Bagworm] Passage of Makura-no-Soshi.”
Ningen Bunka Kenkyu Nenpo, Ochanomizu Joshi Daigaku: Bulletin of the Doctoral Research Course in
Human Culture [Ochanomizu Women’s University], No. 12 [1988], 75-89 <BBS 532>.
B. Reprinted in chapter 1 (39-66) of her Edenbegin page 143 |
↑ back to topwa Kita ka: William Blake Ronshu: On the Location of Eden: Studies on
William Blake. (Tokyo: Kindai Bungeisha, 1996) In Japanese.

No. 3 is sub-titled “‘pity’ to ‘shizumu Hi’ [‘pity’ and ‘the setting
Sun’]”; from No. 44 (1994), both journal and essay titles appear also in translation.

Kawasaki, Noriko. “William Blake ni okeru ‘Mushi’ to ‘Katachi’: Form and Worm in
William Blake.” Pp. 96-113 of Centre and Circumference: Essays in English Romanticism [by
members of the] Association of English Romanticism in Japan. Ed. Kenkichi Kamijima. (Tokyo: Kirihara Shoten,
1995) <Blake (1996)>. B. Translated by the author into Japanese as chapter 5 (107-45)
of her Eden wa Kitaka: William Blake Ronshu: On the Location of Eden:
Studies on William Blake. (Tokyo: Kindai Bungeisha, 1996).

Material from it is incorporated in revised form in his Spiritual
History: A Reading of William Blake’s Vala or The Four Zoas
(1995).

Lincoln, Andrew. “Blake’s Lower Paradise: The Pastoral Passage in The Four
Zoas, Night the Ninth,” Bulletin of Research in the Humanities, LXXXIV (1981), 470-78
<BBS>.

Material from it is incorporated in revised form in his Spiritual
History: A Reading of William Blake’s Vala or The Four Zoas
(1995).

Lincoln, A.W. J. “A history of the composition of William Blake’s
Vala or The Four Zoas as revealed by a study of the surviving manuscript.”
Index to [British] Theses, XXV (1977), 7 (#5470). Wales (Bangor) Ph.D. <Blake (1996)>.

It is clearly related to his Spiritual History: A Reading of William
Blake’s Vala or The Four Zoas (1995).

An elaborate, detailed, and rewarding “staged reading” for “new readers of
The Four Zoas” “that moves, as Blake himself moved, from simpler to more complex forms of
writing” and stresses that Vala is “a universal history” with reference to
contemporary historians such as Gibbon; Blake’s presentation of the Last Judgment suggests that “although
Man has been imprisoned in a finite vision of the natural world, the prison is locked from the inside” (v,
ix, 1, 190).

The “book incorporate[s] material revised from” his (1) “Blake’s
Lower Paradise: The Pastoral Passage in The Four Zoas, Night the Ninth,”
Bulletin of Research in the Humanities, LXXXIV (1981), 470-78; (2) “Blake and the Natural
History of Creation,” Essays and Studies 1986, N.S. XXXIX (1986), 94-103; (3) “Blake and
the ‘Reasoning Historian’,” 73-85 of Historicizing Blake, ed. Steve Clark & David
Worrall (London, 1994) (xiv), and it is clearly related to his University
begin page 144 |
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of Wales (Bangor) doctoral dissertation entitled “A history of the composition of William Blake’s
Vala or The Four Zoas as revealed by a study of the surviving manuscript”
(c. 1977).

The text consists of 10 excerpts from Blake in English and German plus reproductions plus
comments. It is accompanied by 10 plates with designs loosely based on Blakean figures (first exhibited at
Tübingen University Library, April-May 1995) enclosed in a portfolio entitled Dieter Löchle.
William Blake—Roof’d in from Eternity. (Tübingen, Germany: Fockenberg 6/1994 [sic], 1995)
Folio, 10 plates, no text.

5 David Worrall, Year’s Work in English Studies for 1993 (1996), 324
(the book “is highly compromised by the neglect of the materiality of the pictures . . . unnerving at best
and questionable at worst”).

9 David Aers. “Representations of Revolution: From The French
Revolution to The Four Zoas.” Pp. 165-87. (Reprinted from the “much longer” form
in Critical Paths, ed. Dan Miller, Mark Bracher, & Donald Ault [1987].)

An interview with Keynes—all the words are those of Keynes and his collaborators Gwen
Raverat (his sister-in-law) and Vaughan Williams (her cousin)—about the Job ballet
(BB #2049), with “the original scenario” (30-33).

An argument that “on the first six plates of Milton, Blake not only
employs almost all of the themes and images of Second Isaiah [Isaiah 40-55], but he also
arranges them in an order parallelling the order of their appearance in the prophecy. Most striking of all,
perhaps, are the similarities between Blake’s portrait of Milton and Second Isaiah’s portrait of the
servant” (106).

3 Philip Cox, Review of English Studies, N.S., XLVIII (1996), 425-26 (the
book “will be of use to new students” of Blake but “fails to contribute in a sustained way to an
advancement of our understanding of Blake’s most puzzling epic”). 4 David Worrall, Year’s
Work in English Studies, LXXIV for 1993 (1996), 326-27 (“genuinely humanist in its sympathies”).

Probably it is related to her “Mad Poets in the Spring,” Virginia
Quarterly Review, III (1927), 250-63 <BB #2583> about John Clare, Blake, Mangan,
and Dowson.

Sato, Hikari. “Oothoon no Koe to Kafuchosei Shakai—Blake no Albion no
Musumetachi no Genso no Ichikosatsu: The Voice of Oothoon and Patriarchy [On Visions of the
Daughters of Albion].” Igirisu Romanha Kenkyu, Igirisu Romanha Gakkai:
Essays in English Romanticism, Japan Association of English Romanticism, No. 19-20 (1996),
31-39. In Japanese.

“I remain puzzled and disturbed by the many examples of hostility that pepper his
works,” especially in the debate about Deism, though “Blake appears at best uninterested in the ‘Jewish
question’” (139, 149).

Simpson, David. “The Struggle with Albion’s Angels: William Blake.” Pp. 159-67 of his
Romanticism, Naturalism and the Revolt Against Theory. (Chicago & London: University of
Chicago Press, 1993).

*Vaughan, Frank A. Again to the Life of Eternity: William Blake’s
Illustrations to the Poems of Thomas Gray. (Selinsgrove: Susquehanna University Press; London: Associated
University Presses, 1996) Folio, 139 pp., 116 plates, ISBN: 0-945636-74-1.

“Blake was not much interested in illustrating” Gray; instead, “he fought to free the
mind-forged manacles,” “To educate one to rebel,” to implant “not knowledge but a radical burning
doubt” (7, 116, 18). Blake’s 116 watercolors for Gray are reproduced in reduced size and monochrome.

Vine, Steven, Blake’s Poetry: Spectral Visions (1993) <Blake (1994)>.

Review

1 Janet Warner, Blake, XXIX, 3 (Winter 1995-96), 96 (“often the critic
is undermined by the energy and mystery of his poet,” but “the approach that seemed confusing in
The Four Zoas works brilliantly in Vine’s concise discussions of Milton and
Jerusalem”).

20 David Worrall, Year’s Work in English Studies for 1993 (1996),
521-22 (it displays “staggering logic”).

Wada, Ayako. “Blake’s Vala/The Four Zoas: The Genesis of Night I as a
Preludium.” Igirisu Romanha Kenkyu, Igirisu Romanha Gakkai: Essays in English
Romanticism, Japan Association of English Romanticism, No. 19-20 (1996), 5-14.

The Preludium (Night I, 3-7) “reversed this archetypal vision of the Fall . . . in the
America Preludium,” and in its further revision “The poem suffered the fatal structural
wounds when it had hardly been given shape” (11, 12).

“Carman’s indebtedness to Blake is obvious and extensive”; in “The Country of Har:
For the Centenary of Blake’s Songs of Innocence,” Athenaeum (1890)
reprinted in By the Aurelian Wall (1898), “Har is the ideal of England” (119, 118).

Paolozzi’s statue of Newton after Blake’s design for the new British Library is “a
cultural gaffe” (Wilmott), “demonstrates the BL’s failure to apprehend the artist’s meaning”
(Alderson), is creditable because “ambivalent” and “equivocal” (Wilson, a member of the BL committee)
and because “whereas Blake’s figure is impotent and exposed to the elements, Paolizzi’s is immensely
strong and powerful [sic]” (Saunders, chairman of the British Library board).

§Winegarten, R. “The Apocalyptic Vision of William Blake.” Pp. 3-19 of his
Writers and Revolution: The Fatal Lure of Action. (New Viewpoints, 1974).

§Wolf, Edwin. William Blake as an Artist

The unpublished book was offered with Wolf’s Blake papers by §Jonathan Hill, Catalogue
98 (1996), Lot 54, for $7,500 (see Essick, Marketplace, 1996). Wolf’s sometime collaborator Ruthven Todd
published his own book called William Blake as an artist.

An account of “George Cumberland” (62-65) precedes letters from Johnes to him of
1784-1815. In a letter to Robert Anderson of 29 January 1808, Johnes says that in Malkin’s
Father’s Memoirs of His Child (1806) <BB #482>